Unit 10 The Transaction课文翻译综合教程三
Unit 10The TransactionWilliam Zinsser1 About ten years ago a school in Connecticut held “a day devoted to the arts,” and I was asked if I would come and talk about writing as a vocation. When I arrived I found that a second speaker had been invited —Dr. Brock (as I’ll call him), a surgeon who had recently begun to write and had sold some stories to national magazines. He was going to talk about writing as an avocation. That made us a panel, and we sat down to face a crowd of student newspaper editors, English teachers and parents, all eager to learn the secrets of our glamorous work.2 Dr. Brock was dressed in a bright red jacket, looking vaguely bohemian, as authors are supposed to look, and the first question went to him. What was it like to be a writer?3 He said it was tremendous fun. Coming home from an arduous day at the hospital, he would go straight to his yellow pad and write his tensions away. The words just flowed. It was easy.4 I then said that writing wasn’t easy and it wasn’t f un. It was hard and lonely, and the words seldom just flowed.5 Next Dr. Brock was asked if it was important to rewrite. “Absolutely not,” he said. “Let it all hang out, and whatever form the sentences take will reflect the writer at his most natural.”6 I then said that rewriting is the essence of writing. I pointed out that professional writers rewrite their sentences repeatedly and then rewrite what they have rewritten. I mentioned that E. B. White and James Thurber rewrote their pieces eight or nine times.7 “What do you do on days when it isn’t going well?” Dr. Brock was asked. He said he just stopped writing and put the work aside for a day when it would go better.8 I then said that the professional writer must establish a daily schedule and stick to it. I said that writing is a craft, not an art, and that the man who runs away from his craft because he lacks inspiration is fooling himself. He is also going broke.9 “What if you’re feeling depressed or unhappy?” a student asked. “Won’t t hat affect your writing?”10 Probably it will, Dr. Brock replied. Go fishing. Take a walk.11 Probably it won’t, I said. If your job is to write every day, you learn to do it like any other job.12 A student asked if we found it useful to circulate in the literary world. Dr. Brock saidthat he was greatly enjoying his new life as a man of letters, and he told several stories of being taken to lunch by his publisher and his agent at chic Manhattan restaurants where writers and editors gather. I said that professional writers are solitary drudges who seldom see other writers.13 “Do you put symbolism in your writing?” a student asked me.14 “Not if I can help it,” I replied. I have an unbroken record of missing the deeper meaning in any story, play or movie, and as for dance and mime, I have never had even a remote notion of what is being conveyed.15 “I love symbols!” Dr. Brock exclaimed, and he described with gusto the joys of weaving them through his work.16 So the morning went, and it was a revelation to all of us. At the end Dr. Brock told me he was enormously interested in my answers —it had never occurred to him that writing could be hard. I told him I was just as interested in his answers — it had never occurred to me that writing could be easy. (Maybe I should take up surgery on the side.)17 As for the students, anyone might think we left them bewildered. But in fact we probably gave them a broader glimpse of the writing process than if only one of us had talked. For of course there isn’t any “right” way to do such intensely personal work. There are all kinds of writers and all kinds of methods, and any method that helps people to say what they want to say is the right method for them.18 Some people write by day, others by night. Some people need silence, others turn on the radio. Some write by hand, some by typewriter or word processor, some by talking into a tape recorder. Some people write their first draft in one long burst and then revise; others can’t write the second paragrap h until they have fiddled endlessly with the first. 19 But all of them are vulnerable and all of them are tense. They are driven by a compulsion to put some part of themselves on paper, and yet they don’t just write what comes naturally. They sit down to commit an act of literature, and the self who emerges on paper is a far stiffer person than the one who sat down. The problem is to find the real man or woman behind all the tension.20 For ultimately the product that any writer has to sell is not the subject being written about, but who he or she is. I often find myself reading with interest about a topic I never thought would interest me — some unusual scientific quest, for instance. What holds me is the enthusiasm of the writer for his field. How was he drawn into it? What emotional baggage did he bring along? How did it change his life? It’s not necessary to want to spend a year alone at Walden Pond to become deeply involved with a writer who did.21 This is the personal transaction that’s at the he art of good nonfiction writing. Out ofit come two of the most important qualities that this book will go in search of: humanity and warmth. Good writing has an aliveness that keeps the reader reading from one paragraph to the next, and it’s not a question of gimmicks to “personalize” the author. It’s a question of using the English language in a way that will achieve the greatest strength and the least clutter.22 Can such principles be taught? Maybe not. But most of them can be learned.汇通威廉·津瑟1. 大约十年前，康涅狄格州有所学校举办了一次“艺术日”活动，他们问我是否愿意去谈谈职业写作是怎么回事。
21世纪大学商务英语综合教程第三册课文英汉对照翻译ByMJX
UNIT1 Free Trade Has Enriched the World with More than Diverse Goods自由贸易给世界带来的不仅是丰富多彩的商品By Daniel GriswoldTune in to cable TV, talk radio, or the blogosphere and you will soon be hit over the head with the message that free trade is destroying America. According to the economic populists on the left and right, the wages, jobs, and futures of Main Street Americans are being sacrificed daily to the gods of globalization.只要打开有线电视、收音机或博客网，你很快就会惊讶地获悉：自由贸易正在摧毁美国。
据左右两派经济民粹主义者所说，美国普通老百姓的工资、工作和未来天天都在被当作供品献祭给全球化的神明们。
On trade, as on so much else, the populists have it wrong again. Free trade and globalization are great blessings to American families. Trade is delivering lower prices and more variety to consumers, especially the poor, while creating better paying jobs for the middle class. Beyond the US shores, the spread of economic openness is building a more peaceful, democratic and humane world for our children.就像在其他许多事情上一样，这些民粹主义者们在贸易问题上又搞错了。
新标准大学英语综合教程3课后翻译答案全10单元
新标准大学英语综合教程 3 课后翻译答案(全10单元)Unit 11. 对于是否应该在大学期间详细规划自己的未来，学生们意见不一。
有的人认为对未来应该有一个明确的目标和详细的计划，为日后可能遇到的挑战做好充分的准备；有的人则认为不用过多考虑未来，因为未来难以预料。
(map out; brace oneself for; uncertainty) Students differ about whether they should have their future mapped out when they are still at university. Some think they should have a definite goal and detailed plan, so as to brace themselves for any challenges, whereas some others think theydon't have to think much about the future, because future is full of uncertainties. 2. 经过仔细检查，这位科学家得知自己患了绝症。
虽然知道自己将不久于人世，他并没有抱怨命运的不公，而是准备好好利用剩下的日子，争取加速推进由他和同事们共同发起的那个研究项目，以提前结项。
(tick away; make the best of; have a shot at)After a very careful check-up, the scientist was told he had got a fatal disease. Although he knew that his life was ticking away, instead of complaining about the fate, the scientist decided to make the best of the remaining days, and speed up the research project he and his colleagues initiated, and have a shot at completing it ahead of schedule.Unit 21. 在火车站上，有一位老人给我讲述了他参加解放战争的经历，那些战斗故事对我有着极大的吸引力。
Unit10-The-Transaction综合教程
Audiovisual Supplement Cultural Information
Watch the video clip and answer the following questions.
1. What does Mr. Keating ask students to do? He asks students to rip the introduction part of the poetry text book.
Audiovisual Supplement Cultural Information
McAllister: Mr. Keating. Mr. Keating: Mr. McAllister. McAllister: I’m sorry, I — I didn’t know you were here. Mr. Keating: I am. McAllister: Ah, so you are. Excuse me. Mr. Keating: Keep ripping gentlemen. This is a battle, a
war. And the casualties could be your hearts and souls. Thank you Mr. Dalton. Armies of academics going forward, measuring poetry. No, we will not have that here. No more of Mr. J. Evans Pritchard. Now in my class you will learn to think for yourselves again. You will learn to savor words and language. No matter what anybody tells you, words and ideas can change the world.
上外综合教程第二版unit10电子教案
上外综合教程第⼆版unit10电⼦教案Unit 10 The TransactionSection One Pre-reading Activities (1)I. Audiovisual Supplement (1)II．Cultural Background (2)Section Two Global Reading (3)I. Text Analysis (3)II. Structural Analysis (3)Section Three Detailed Reading (4)I. Text 1 (4)II. Questions (5)III.Words and Expressions (6)IV. Sentences (8)Section Four Consolidation Activities (8)Ⅰ.Vocabulary (8)Ⅲ. Translation (13)Ⅳ. Exercises for Integrated Skills (14)Ⅴ. Oral Activities (15)Ⅵ. Writing (16)Section Five Further Enhancement (18)I. Lead-in Questions (18)II. Text 2 (18)III. Memorable Quotes (21)Section One Pre-reading ActivitiesI. Audiovisual SupplementWatch the video clip and answer the following questions.Script:Mr. Keating: G o on. Rip it out. Thank you Mr. Dalton. Gentlemen, tell you what, don’t just tear out that page, tear out the entire introduction. I want it gone, history. Leave nothingof it. Rip it out. Rip! Begone J. Evans Pritchard, Ph.D. Rip. Shred. Tear. Rip it out! Iwant to hear nothing but ripping of Mr. Pritchard. We’ll perforate it, put it on a roll.It’s not the Bible. You’re not going to go to hell for this. Go on. Make a clean tear. Iwant nothing left of it.Cameron:We shouldn’t be doing this.Neil: Rip! Rip! Rip!Mr. Keating: Rip it out! Rip!McAllister: What the hell is going on here?Mr. Keating: I don’t hear enough rips.McAllister: Mr. Keating.Mr. Keating: Mr. McAllister.McAllister: I’m sorry, I—I didn’t know you were here.Mr. Keating: I am.McAllister: Ah, so you are. Excuse me.Mr. Keating: Keep ripping gentlemen. This is a battle, a war. And the casualties could be your hearts and souls. Thank you Mr. Dalton. Armies of academics going forward,measuring poetry. No, we will not have that here. No more of Mr. J. Evans Pritchard.Now in my class you will learn to think for yourselves again. You will learn to savorwords and language. No matter what anybody tells you, words and ideas can changethe world.（在每个问题下⾯设置按钮，点击以后出现下⾯的答案）1. What does Mr. Keating ask students to do?He asks students to rip the introduction part of the poetry text book.2. What is the purpose of his doing so?His intention is to develop the students’ ability of independent thinking which is quite important in literature study. He believes that words and ideas can change the world.II．Cultural BackgroundThe Importance of DialogueMany philosophers and writers would like to express their philosophic ideas through the form of dialogue. And one important theorist making great contribution in clarifying the function of dialogic thinking is Mikhail Bakhtin.1) Self-other relationship —―other‖ plays a key role in understanding:In order to understand, it is immensely important for the person who understands to be located outside the object of his or her creative understanding — in time, in space, in culture.—Mikhail Bakhtin (from New York Review of Books, June 10, 1993)2) Polyphony (many voices) — single voice is not the carrier of truth:Truth is a number of mutually addressed, albeit contradictory and logically inconsistent, statements. Truth needs a multitude of carrying voices.Section Two Global ReadingI. Text AnalysisThe text opens with two writers answering student s’ questions about how to write in dialogue, showing sharp contrasts from various aspects. By summarizing different methods in writing, the text later on points out that even with diversity and differentiation, the common ground of any writing is the same. Many renowned philosophers and writers such as Plato and Oscar Wilde expressed their philosophic ideas in the form of dialogue where different aspects of truth were better presented. Through dialogue between people on an equal footing, we get the revelation that different, sometimes even seemingly contradictory elements, can co-exist so harmoniously within the range of one truth. Human beings have an inclination to look at the world from a self-centered perspective, and it will result in an illusion far from truth. Therefore, it is important for one to try his best to train his mind from an early time in his life to tolerate other peo ple’s opinions of the world because such different understanding of life helps one better pursue the truth.II. Structural Analysis1) In terms of organization, the article clearly falls into two main parts:The first part (Paragraphs 1-17) is devoted to answers given by two writers to the students’questions.The second part (Paragraphs 18-22) is a generalization of the essence of writing.2) In order to deliver the sharp differences in the answers of the two writers in the first part, the author uses●Short paragraphs and the repetition of ―he said …‖ and ―Then I said …‖●The rhetorical trick of contraste.g. ―The words just flowed. It was easy.‖ (Paragraph 3) vs. ―It was hard and lonely, and thewords seldom just flowed.‖ (Paragraph 4)●Advantage of such rhetoric technique: some knowledge of different and even conflictingideas helps one to gain greater thinking power and acquire a broader vision.3) The diversity of the writing methods in the second part is expressed by the parallel use of―some …‖ and ―others …‖e.g. Some people write by day, others by night. Some people need silence, others turn on the radio. (Paragraph 18)4) The transition paragraph from the specific examples to general discussion of the topic is Paragraph 17; The shift from the diversity to the commonality shared by all writers is realized with two words ―But all‖ in the beginning of Paragraph 19. Section Three Detailed ReadingI. Text 1The TransactionWilliam Zinsser1 About ten years ago a school in Con necticut held ―a day devoted to the arts,‖ and I was asked if I would come and talk about writing as a vocation. When I arrived I found that a second speaker had been invited —Dr. Brock (as I’ll call him), a surgeon who had recently begun to write and had sold some stories to national magazines. He was going to talk about writing as an avocation. That made us a panel, and we sat down to face a crowd of student newspaper editors, English teachers and parents, all eager to learn the secrets of our glamorous work.2 Dr. Brock was dressed in a bright red jacket, looking vaguely bohemian, as authors are supposed to look, and the first question went to him. What was it like to be a writer?3 He said it was tremendous fun. Coming home from an arduous day at the hospital, he would go straight to his yellow pad and write his tensions away. The words just flowed. It was easy.4 I then said that writing wasn’t easy and it wasn’t fun. It was hard and lonely, and the words seldom just flowed.5 Next Dr. Brock was asked if it was important to rewrite. ―Absolutely not,‖ he said. ―Let it all hang out, and whatever form the sentences take will reflect the writer at his most natural.‖6 I then said that rewriting is the essence of writing. I pointed out that professional writers rewrite their sentences repeatedly and then rewrite what they have rewritten. I mentioned that E. B. White and James Thurber rewrote their pieces eight or nine times.7 ―What do you do on days when it isn’t going well?‖ Dr. Brock was a sked. He said he just stopped writing and put the work aside for a day when it would go better.8 I then said that the professional writer must establish a daily schedule and stick to it. I said that writing is a craft, not an art, and that the man who runs away from his craft because he lacks inspiration is fooling himself. He is also going broke.9 ―What if you’re feeling depressed or unhappy?‖ a student asked. ―Won’t that affect your writing?‖10 Probably it will, Dr. Brock replied. Go fishing. Take a walk.11 Probably it won’t, I said. If your job is to write every day, you learn to do it like any other job.12 A student asked if we found it useful to circulate in the literary world. Dr. Brock said that he was greatly enjoying his new life as a man of letters, and he told several stories of being taken to lunch by his publisher and his agent at chic Manhattan restaurants where writers and editors gather.I said that professional writers are solitary drudges who seldom see other writers.13 ―Do you put symbolism in your writing?‖ a student asked me.14 ―Not if I can help it,‖ I replied. I have an unbroken record of missing the deeper meaning in any story, play or movie, and as for dance and mime, I have never had even a remote notion of what is being conveyed.15 ―I love symbols!‖ Dr. Brock exclaimed, and he described with gusto the joys of weaving them through his work.16 So the morning went, and it was a revelation to all of us. At the end Dr. Brock told me he was enormously interested in my answers —it had never occurred to him that writing could be hard. I told him I was just as interested in his answers —it had never occurred to me that writing could be easy. (Maybe I should take up surgery on the side.)17 As for the students, anyone might think we left them bewildered. But in fact we probably gave them a broader glimpse of the writing process than if only one of us had talked. For of course there isn’t any ―right‖ way to do such intensely personal work. There are all kinds of writers and all kinds of methods, and any method that helps people to say what they want to say is the right method for them.18 Some people write by day, others by night. Some people need silence, others turn on the radio. Some write by hand, some by typewriter or word processor, some by talking into a tape recorder. Some people write their first draft in one long burst and then revise; others can’t write the second paragraph until they have fiddled endlessly with the first.19 But all of them are vulnerable and all of them are tense. They are driven by a compulsion to put some part of themselves on paper, and yet they don’t just write what comes naturally. They sit down to commit an act of literature, and the self who emerges on paper is a far stiffer person than the one who sat down. The problem is to find the real man or woman behind all the tension.20 For ultimately the product that any writer has to sell is not the subject being written about, but who he or she is. I often find myself reading with interest about a topic I never thought would interest me —some unusual scientific quest, for instance. What holds me is the enthusiasm of the writer for his field. How was he drawn into it? What emotional baggage did he bringalong? How did it change hi s life? It’s not necessary to want to spend a year alone at Walden Pond to become deeply involved with a writer who did.21 This is the personal transaction that’s at the heart of good nonfiction writing. Out of it come two of the most important qualities that this book will go in search of: humanity and warmth. Good writing has an aliveness that keeps the reader reading from one paragraph to the next, and it’s not a question of gimmicks to ―personalize‖ the author. It’s a question of using the English language in a way that will achieve the greatest strength and the least clutter.22 Can such principles be taught? Maybe not. But most of them can be learned.II. Questions1.Do you think the process of the activity is within the expectation of both the speakers and theaudience? (Paragraphs 1-17)No. Due to the differences in the background of the two speakers, different views towards the topic of writing are somewhat anticipated. But the fact that their opinions should be so conflicting to each other is a surprise to both the speakers and the audience.2.What would be the possible response of the students as suggested by the writer?(Paragraph17)The students might have a broader glimpse of the writing process. They would realize that there might be totally different writers and methods of writing and the most effective method of writing is the one that helps the writer to say what he wants to say.3.What does the writer mean when he says that all of the writers are ―vulnerable and tense‖?(Paragraph 19)―Vulnerable‖ refers to the quality of being sensitive to all the stimulus in life, and ―tense‖ refers to the sharp awareness of expressing natural feelings in an artistic way.4.What does the writer think is the very thing that makes a piece of good writing? (Paragraph21)According to the writer, it’s the existence of the personal transaction that makes a piece of good writing. The writer should devote genuine emotion in the process of writing and only thus can he arouse the expected response in his readers.5.What does the writer mean that such principles cannot be taught but can be learned?(Paragraph 22)What can be taught in writing is the writing skills, but writing skills alone cannot make a great, or even a good, piece of writing. The genuine enthusiasm for art and sincere emotion for the world, which are essential to good writing, can only be learned by heart and through one’s life experiences.Class Activity （放在课⽂的末尾）Group discussion: Do you enjoy the process of writing? Do you write with the flow of thought or based on careful planning and meditation? Share your experiences with you classmates. Impromptu writing: Use ten minutes to write whatever in your mind on a piece of paper and read this writing to the class.III.Words and ExpressionsParagraphs1-17bohemian a.having or denoting the qualities of a person with artistic or literary interests who disregards conventional standards of behaviore.g. bohemian cafes frequented by artists, musicians, and actorsarduous a.involving strenuous effort, difficult and tiringe.g.After a long, hot, and arduous journey we fell asleep the moment our heads touched the pillows.The experiment was far more arduous than most of us had expected.Antonym:facilecirculate v.move around a social function to talk to different people; move continuously through a closed system or areae.g. Rumours started to circulate among the villagers about the cause of his death right after hedied.Derivation:circulation (n.)e.g. This kind of stamp is no longer in circulation.symbolism n.Symbolism is an artistic and poetic movement or style using symbolic images and indirect suggestion to express mystical ideas, emotions, and states of mind. It originated in late 19th-century France and Belgium, flourished all over Europe, had great international impact, and influenced 20th-century art and literature.e.g. poetry full of religious symbolismDerivations:symbol (n.), symbolic (a.), symbolize (v.)Practice:What does this ____ ____? (symbol, symbolize) symbolize这个符号象征着什么？bewilder v.cause sb. to become perplexed and confusede.g. He was bewildered by his daughter's reaction.Synonyms:puzzle, perplex, confoundParagraphs18-22fiddle v.tinker with sth. in an attempt to make minor adjustments or improvementse.g. She sat in the car and played the radio, fiddling with the knobs.Collocations:fiddle withe.g. Feeling nervous when facing the interviewer, she fiddled with the strings of her purse.fiddle about / arounde.g. Stop fiddling about and do some work.commit v.do sth. wrong or illegale.g.It was disclosed in the media that this senior official had committed adultery with severalfemales.Collocations:commit sb. / sth. to sth.:order sb. to be put in a hospital or prisone.g. commit a man to prisoncommit sb. / oneself (to sth. / to doing sth.):say that sb. will definitely do sth. or must do sth.e.g. He has committed himself to support his brother’s children.Derivation:commitment (n.): a promise to do sth. or to behave in a particular waye.g.the government's commitment to public servicesIV. Sentences1．Coming home from an arduous day at the hospital, he would go straight to his yellow pad and write his tensions away. (Paragraph 3)Paraphrase:After a whole day’s intense work at the hospital, he w ould get rid of his tensions through writing.2．“Let it all hang out, and whatever form the sentences take will reflect the writer at his most natural.” (Paragraph 5) Paraphrase:Let the writer relax completely and the sentences he writes will show the most natural state of him.3．I have an unbroken record of missing the deeper meaning in any story, play or movie, and as for dance and mime, I have never had even a remote notion of what is being conveyed. (Paragraph 14)Paraphrase:I have nearly always failed to understand the hidden, implicit meaning expressed in any story, play or movie, and I do not have the slightest idea of what is being conveyed in dance and mime.4．Maybe I should take up surgery on the side. (Paragraph 16)Paraphrase:Perhaps I should take up surgery as a hobby.5．They sit down to commit an act of literature (paragraph 19)Paraphrase:They sit down to do some literary writing.Section Four Consolidation ActivitiesⅠ.Vocabulary1. Word Derivation1) drudge n. → drudge v. → drudgery n.⽆尽⽆休的﹑单调乏味的家务the endless drudgery of housework给那个公司打⼯⽆异于做苦⼒。
新标准大学英语综合教程3课文翻译
新标准大学英语综合教程3课文翻译Unit 1: GlobalizationText AGlobalization is defined as the increasing interconnectedness and interdependence of countries through the exchange of goods, services, and ideas. With the rapid development of technology and transportation, globalization has become a dominant force shaping the world we live in.The benefits of globalization are evident in various aspects of our lives. Economically, it has created new market opportunities and allowed businesses to expand their reach beyond domestic boundaries. This has contributed to economic growth and job creation. Culturally, globalization has facilitated the exchange of cultural practices, ideas, and values, leading to a more diverse and interconnected world. It has also accelerated the spread of knowledge and information, making education more accessible and enabling the growth of scientific advancements.However, globalization also comes with challenges. One major concern is the growing wealth gap between the rich and the poor. While globalization has lifted many out of poverty, it has also widened income inequality within and between countries. Additionally, globalization has led to the homogenization of cultures, as dominant cultures tend to overshadow smaller, local ones. This can result in the loss of cultural diversity and traditions. To address these challenges, policymakers need to find ways toensure that the benefits of globalization are shared by all. This includes implementing fair trade practices, promoting sustainable development, and investing in education and healthcare. Furthermore, it is crucial to celebrate and preserve cultural diversity, respecting and valuing the unique contributions of different societies.In conclusion, globalization has drastically transformed the world we live in, bringing both benefits and challenges. By addressing these challenges head-on, we can create a more inclusive and sustainable global community that embraces diversity and promotes shared prosperity.Text BOver the past few decades, globalization has become an undeniable reality in our society. It is driven by factors such as advancements in technology, international trade, and the rapid flow of capital and information.Globalization has had a profound impact on the economy, politics, culture, and daily life of people around the world. Economically, it has allowed businesses to expand their operations globally, leading to increased trade and investment. Politically, it has fostered cooperation among nations and encouraged the formation of international organizations and agreements. Culturally, globalization has facilitated the exchange of ideas, art, music, and cuisine, resulting in a more interconnected and multicultural world. In our daily lives, globalization has made it easier for us to travel, communicate, and access products and services from differentparts of the world.However, globalization has also faced criticism and resistance. Critics argue that it often benefits multinational corporations and developed countries at the expense of developing nations and local communities. They claim that globalization promotes exploitation, weakens labor rights, and leads to the loss of traditional industries and jobs.Despite the challenges and criticisms, it is clear that globalization is here to stay. As our world becomes increasingly interconnected, it is essential to find ways to maximize its benefits while mitigating its negative effects. This requires strong international cooperation and policies that promote sustainable and inclusive growth.In conclusion, globalization is a complex and multifaceted phenomenon that has significantly shaped our world. While it has brought about many positive changes, it also poses challenges that need to be addressed. Only through effective governance and cooperation can we harness the potential of globalization for the betterment of all.。
Unit-10-The-Transaction课文翻译综合教程三名师制作优质教学资料
Unit 10The TransactionWilliam Zinsser1 About ten years ago a school in Connecticut held “a day devoted to the arts,” and I was asked if I would come and talk about writing as a vocation. When I arrived I found that a second speaker had been invited —Dr. Brock (as I’ll call him), a surgeon who had recently begun to write and had sold some stories to national magazines. He was going to talk about writing as an avocation. That made us a panel, and we sat down to face a crowd of student newspaper editors, English teachers and parents, all eager to learn the secrets of our glamorous work.2 Dr. Brock was dressed in a bright red jacket, looking vaguely bohemian, as authors are supposed to look, and the first question went to him. What was it like to be a writer?3 He said it was tremendous fun. Coming home from an arduous day at the hospital, he would go straight to his yellow pad and write his tensions away. The words just flowed. It was easy.4 I then said that writing wasn’t easy and it wasn’t fun. It was hard and lonely, and the words seldom just flowed.5 Next Dr. Brock was asked if it was important to rewrite. “Absolutely not,” he said. “Let it all hang out, and whatever form the sentences take will reflect the writer at his most natural.”6 I then said that rewriting is the essence of writing. I pointed out that professional writers rewrite their sentences repeatedly and then rewrite what they have rewritten. I mentioned that E. B. White and James Thurber rewrote their pieces eight or nine times.7 “What do you do on days when it isn’t going well?” Dr. Brock was asked. He said he just stopped writing and put the work aside for a day when it would go better.8 I then said that the professional writer must establish a daily schedule and stick to it. I said that writing is a craft, not an art, and that the man who runs away from his craft because he lacks inspiration is fooling himself. He is also going broke.9 “What if you’re feeling depressed or unhappy?” a student asked. “Won’t that affect your writing?”10 Probably it will, Dr. Brock replied. Go fishing. Take a walk.11 Probably it won’t, I said. If your job is to write every day, you learn to do it like any other job.12 A student asked if we found it useful to circulate in the literary world. Dr. Brock saidthat he was greatly enjoying his new life as a man of letters, and he told several stories of being taken to lunch by his publisher and his agent at chic Manhattan restaurants where writers and editors gather. I said that professional writers are solitary drudges who seldom see other writers.13 “Do you put symbolism in your writing?” a student asked me.14 “Not if I can help it,” I replied. I have an unbroken record of missing the deeper meaning in any story, play or movie, and as for dance and mime, I have never had even a remote notion of what is being conveyed.15 “I love symbols!” Dr. Brock exclaimed, and he described with gusto the joys of weaving them through his work.16 So the morning went, and it was a revelation to all of us. At the end Dr. Brock told me he was enormously interested in my answers —it had never occurred to him that writing could be hard. I told him I was just as interested in his answers — it had never occurred to me that writing could be easy. (Maybe I should take up surgery on the side.)17 As for the students, anyone might think we left them bewildered. But in fact we probably gave them a broader glimpse of the writing process than if only one of us had talked. For of course there isn’t any “right” way to do such intensely personal work. There are all kinds of writers and all kinds of methods, and any method that helps people to say what they want to say is the right method for them.18 Some people write by day, others by night. Some people need silence, others turn on the radio. Some write by hand, some by typewriter or word processor, some by talking into a tape recorder. Some people write their first draft in one long burst and then revise; others can’t write the second paragraph until they have fiddled endlessly with the first. 19 But all of them are vulnerable and all of them are tense. They are driven by a compulsion to put some part of themselves on paper, and yet they don’t just write what comes naturally. They sit down to commit an act of literature, and the self who emerges on paper is a far stiffer person than the one who sat down. The problem is to find the real man or woman behind all the tension.20 For ultimately the product that any writer has to sell is not the subject being written about, but who he or she is. I often find myself reading with interest about a topic I never thought would interest me — some unusual scientific quest, for instance. What holds me is the enthusiasm of the writer for his field. How was he drawn into it? What emotional baggage did he bring along? How did it change his life? It’s not necessary to want to spend a year alone at Walden Pond to become deeply involved with a writer who did.21 This is the personal transaction that’s at the heart of good nonfiction writing. Out ofit come two of the most important qualities that this book will go in search of: humanity and warmth. Good writing has an aliveness that keeps the reader reading from one paragraph to the next, and it’s not a question of gimmicks to “personalize” the author. It’s a question of using the English language in a way that will achieve the greatest strength and the least clutter.22 Can such principles be taught? Maybe not. But most of them can be learned.汇通威廉·津瑟1. 大约十年前，康涅狄格州有所学校举办了一次“艺术日”活动，他们问我是否愿意去谈谈职业写作是怎么回事。
综合英语教程(第三版)BOOK3-课文译文10.第十单元
第十单元TEXT便宜货让我们看看“bargain”这个词的正统定义是什么，它是以低廉和有利的价格出售的东西，又指人们买到价格比货物实际价值更低的东西的机会。
一个更新的定义是：“bargain”指的是从愚蠢无知的人们口袋中敲诈金钱的卑鄙伎俩。
我一生中从未出席过大型公司的董事会，但是我敢肯定董事会的讨论经常以下列方式进行。
生产一种新的产品，例如，一管牙膏的成本决定80个便士是个合理的价格，所以我们以1.20镑的价格出售，牙膏还不错（不是特别好，也不坏），而且因为人们喜欢试用新颖的东西，所以一开始新产品销售很好，不过新奇的吸引力很快就消失了，结果产品的销售量就下降了。
一旦这种情况开始出现，我们就把该产品的价格降到1.15镑。
而且在牙膏上到处印上“减价5便士”，把它变成便宜货，结果人们就会火速去购买，即使该产品的价格仍然比合理价格高百分之四十三。
有时不是5个便士而是1个便士的降价。
就像宣传肥皂、洗衣粉、狗食、或其他什么都打折1便士的广告，这有多不恰当啊！甚至连最贫穷的靠领取养老金过活的老人也该把它看成是一种侮辱，但他却偏偏不。
廉价货不可错过。
被人提供1便士的“礼品”就像被人邀请去赴宴时，只给准备了一颗碗豆（味道还不错）而没任何别的食品的情况一样。
即使便宜货代表了真正降价，它也会是一种侮辱。
但人们还是说，人们总要买洗衣粉(或别的什么东西)，还是买便宜1便士的东西好。
我小时候在匈牙利，有一个男子被指控为了相当于1先令的钱谋杀了人，而且该男子认罪了。
法官因此愤怒地说：“为了1个先令去杀人，你还有什么要辩护的？”杀人犯回应：“这儿一个先令，那儿一个先令就…”这正是今日的购物者所说的“这里有1便士，…那里1便士。
”真正的危险是那些完全不必要的东西成为了“便宜货”。
有许多人无法抵制便宜货和减价出售的诱惑。
如果他们认为划算就会买廉价而永远都不穿的衣服，买他们没有地方放的家具，老太太会买四轮滑冰鞋，不抽烟的人会买烟斗通条。
Unit10TheTransaction综合教程三 ppt课件
Audiovisual Supplement Cultural Information
2020/12/12
5
Audiovisual Supplement Cultural Information
From Dead Poetห้องสมุดไป่ตู้ Society
Mr. Keating: Go on. Rip it out. Thank you Mr. Dalton. Gentlemen, tell you what, don’t just tear out that page, tear out the entire introduction. I want it gone, history. Leave nothing of it. Rip it out. Rip! Begone J. Evans Pritchard, Ph.D. Rip. Shred. Tear. Rip it out! I want to hear nothing but ripping of Mr. Pritchard. We’ll perforate it, put it on a roll. It’s not the Bible. You’re not going to go to hell for this. Go on. Make a clean tear. I want nothing left of it. Cameron: We shouldn’t be doing this. Neil: Rip! Rip! Rip! Mr. Keating: Rip it out! Rip! McAllister: What the hell is going on here? Mr. Keating: I don’t hear enough rips.
Unit 10 The Transaction课文翻译综合教程三
Unit 10The TransactionWilliam Zinsser1 About ten years ago a school in Connecticut held “a day devoted to the arts,”and I was asked if I would come and talk about writing as a vocation. When I arrived I foundthat a second speaker had been invited —Dr. Brock (as I'll call him), a surgeon who had recently begun to write and had sold some stories to national magazines. He was going to talk about writing as an avocation. That made us a panel, and we sat down to face a crowdof student newspaper editors, English teachers and parents, all eager to learn the secretsof our glamorous work.2 Dr. Brock was dressed in a bright red jacket, looking vaguely bohemian, as authorsare supposed to look, and the first question went to him. What was it like to be a writer?3 He said it was tremendous fun. Coming home from an arduous day at the hospital,he would go straight to his yellow pad and write his tensions away. The words just flowed.It was easy.4 I then said that writing wasn't easy and it wasn't fun. It was hard and lonely, andthe words seldom just flowed.5 Next Dr. Brock was asked if it was important to rewrite. “Absolutely not,”he said. “Let it all hang out, and whatever form the sentences take will reflect the writer at hismost natural.”6 I then said that rewriting is the essence of writing. I pointed out that professional writers rewrite their sentences repeatedly and then rewrite what they have rewritten. I mentioned that E. B. White and James Thurber rewrote their pieces eight or nine times.7 “What do you do on days when it isn't going well?”Dr. Brock was asked. He said he just stopped writing and put the work aside for a day when it would go better.8 I then said that the professional writer must establish a daily schedule and stick toit. I said that writing is a craft, not an art, and that the man who runs away from his craft because he lacks inspiration is fooling himself. He is also going broke.9 “What if you're feeling depressed or unhappy?”a student asked. “Won't that affect your writing?”10 Probably it will, Dr. Brock replied. Go fishing. Take a walk.11 Probably it won't, I said. If your job is to write every day, you learn to do it like any other job.A student asked if we found it useful to circulate in the literary world. Dr. Brock said12that he was greatly enjoying his new life as a man of letters, and he told several stories of being taken to lunch by his publisher and his agent at chic Manhattan restaurants where writers and editors gather. I said that professional writers are solitary drudges whoseldom see other writers.13 “Do you put symbolism in your writing?”a student asked me.14 “Not if I can help it,”I replied. I have an unbroken record of missing the deeper meaning in any story, play or movie, and as for dance and mime, I have never had even a remote notion of what is being conveyed.15 “I love symbols!”Dr. Brock exclaimed, and he described with gusto the joys of weaving them through his work.16 So the morning went, and it was a revelation to all of us. At the end Dr. Brock toldme he was enormously interested in my answers —it had never occurred to him that writing could be hard. I told him I was just as interested in his answers —it had never occurred to me that writing could be easy. (Maybe I should take up surgery on the side.)17 As for the students, anyone might think we left them bewildered. But in fact we probably gave them a broader glimpse of the writing process than if only one of us had talked. For of course there isn't any “right”way to do such intensely personal work. There are all kinds of writers and all kinds of methods, and any method that helps people to say what they want to say is the right method for them.18 Some people write by day, others by night. Some people need silence, others turnon the radio. Some write by hand, some by typewriter or word processor, some by talking into a tape recorder. Some people write their first draft in one long burst and then revise; others can't write the second paragraph until they have fiddled endlessly with the first.19 But all of them are vulnerable and all of them are tense. They are driven by a compulsion to put some part of themselves on paper, and yet they don't just write what comes naturally. They sit down to commit an act of literature, and the self who emergeson paper is a far stiffer person than the one who sat down. The problem is to find the real man or woman behind all the tension.20 For ultimately the product that any writer has to sell is not the subject being written about, but who he or she is. I often find myself reading with interest about a topic I never thought would interest me —some unusual scientific quest, for instance. What holds meis the enthusiasm of the writer for his field. How was he drawn into it? What emotional baggage did he bring along? How did it change his life? It's not necessary to want tospend a year alone at Walden Pond to become deeply involved with a writer who did.that's at the heart of good nonfiction writing. Out ofThis is the personal transaction 21it come two of the most important qualities that this book will go in search of: humanityand warmth. Good writing has an aliveness that keeps the reader reading from one paragraph to the next, and it's not a question of gimmicks to “personalize”the author. It's a question of using the English language in a way that will achieve the greatest strengthand the least clutter.22 Can such principles be taught? Maybe not. But most of them can be learned.汇通威廉·津瑟1.大约十年前，康涅狄格州有所学校举办了一次“艺术日”活动，他们问我是否愿意去谈谈职业写作是怎么回事。
unit 10 the transaction teaching plan综合教程三
unit 10 the transaction teaching plan综合教程三Text IThe TransactionWilliam ZinsserGlobal ReadingI. Text AnalysisThe text opens with two writers answering students’questions about how to write in dialogue, showing sharp contrasts from various aspects. By summarizing different methods in writing, the text later on points out that even with diversity and differentiation, the common ground of any writing is the same. Many renowned philosophers and writers such as Plato and Oscar Wilde expressed their philosophic ideas in the form of dialogue where different aspects of truth were better presented. Through dialogue between people on an equal footing, we get the revelation that different, sometimes even seemingly contradictory elements, can co-exist so harmoniously within the range of one truth. Human beings have an inclination to lookat the world from a self-centered perspective, and it will result in an illusion far from truth. Therefore, it is important for one to try his best to train his mind from an early time in his life to tolerate other people’s opinions of the world because such different understanding of life helps one better pursue the truth.II. Structural Analysis1) In terms of organization, the article clearly falls into two main parts:The first part (Paragraphs 1-17) is devoted to answers given by two writers to the students’ questions.The second part (Paragraphs 18-22) is a generalization of the essence of writing.2) In order to deliver the sharp differences in the answers of the two writers in the first。